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DELINEATOR SERVICE ^ T * 
House Decoration Series—Bulletin No. 4^ s. ^ V 


FURNISHING 
THE HOME 


Mrs. Charles Bradley Sanders , wXM 

Editor, House Decoration Department 

The Delineator 


VlAAv^ 


Windsor type of painted bedroom furniture, which 
is most appropriate for the modern American home 


THE BUTTERICK PUBLISHING COMPANY 
New York, N. Y. 




























CONTENTS 


Choice of Furniture. 3 

Arrangement of Furniture. 6 

Appropriate Furniture. 9 

Floor Coverings. ... 10 

Hall Furnishings. 11 

Living-Room Furnishings. 12 

Dining-Room Furnishings. 14 

Bedroom Furnishings, for Adult. 14 

Bedroom Furnishings, for Boy. 16 

Bedroom Furnishings, for Girl. 16 

Guest-Room Furnishings. 18 

Porch Furnishings. 19 

Choice of Color. 19 

Color Wheel. opposite page 20 

Color Combinations. 21 

Materials for Upholstery. 23 

Materials for Overdraperies and Curtains. 23 



Note —The price of The Delineator Service 
Bulletins varies with the cost of manufacture. 
In no case is it meant to cover more than the 
actual cost, plus postage. 


Price of “Furnishing the Home,” 25 cents 


Copyright, 1923, by 

The Butterick Publishing Company 

New York, N. Y 

©C1A757799 AUG , , | 323 

























AL'S 11 J923 


Delineator Service 


3 


rO 



s-puRNISHING 
THE HOME 


By 

Mrs. CHARLES BRADLEY SANDERS 

Editor, House Decoration Department, The DELINEATOR 


AS WE all live in houses of one kind or another, we well know 
that before they can be occupied, they must be furnished. 
Their furnishing constitutes the environment in which we 
spend the greater part of our lives. Science has proved that if this 
environment is beautiful, cheerful, and comfortable, it affects our 
daily life favorably, creating quiet, happiness, and repose; but should 
our environment be uncomfortable, dull and irritating, it reacts on 
the individual, creating disquiet and restlessness. It is therefore 
evident that properly furnished houses are of the utmost impor¬ 
tance, and in order to create a successful, beautiful whole, a proper 
knowledge of the rules that govern the choosing and placing of ob¬ 
jects selected for furnishings is most essential. The art of decorat¬ 
ing a house is based on set rules and principles that do not change 
with styles. These principles are never altered by fads or 
fancies, but remain true to fundamentals that govern the art of decor¬ 
ations. Whether for architecture or house decoration, we have an 
inherent love for beauty and we instinctively prefer harmony to dis¬ 
cord in form of arrangement and in color though we may not always 
know how to express it. Accepting this as a truth, we soon discover 
that the basic principle of successful house decoration is to create 
beauty and mental calm rather than the bizarre and unusual. What 
is more natural than to turn to the home to find this beauty, 
peace and quiet? 


Fundamental Rules That Govern the Choosing 
of Furniture 


H OUSE decoration is a creative art, and it is evident that such 
an art does not require great skill for its success, but that 
good taste, which may be defined as knowledge, appreciation, 
discrimination or judgment, is the most necessary requirement for 
its successful practise. It is possible to acquire good taste, though 
the most difficult students are those who will not admit the need for 





4 


Furnishing the Home 


a cultivated taste or recognize the existence of artistic standards 
higher than their own. 

Because the word “decorate” is used in connection with furnish¬ 
ing a house, persons are apt to think that anything new, decorative in 
itself, hung or placed, regardless of its relation to other furnishings, 
is to decorate. This is not so, however, because there must be first 
something to decorate—either a background to make, or a room to 
furnish against a background. The arrangement of furniture, the 
blending of colors, and the choice of objects in relation to each other, 
are the most difficult phases of house decoration to master, but if the 
simple rules that govern these questions are taken into considera¬ 
tion, the whole becomes an easy problem, delightful in its solving. 

In furnishing a house, there are three distinct problems to consider; 
first, to see that the things selected suit the style, use, and exposure 
of the rooms to be furnished; second, that they suit the age, sex and 
taste of those who are to use them; and third, that they are not only 
intrinsically good in line and color but combine well with each other 
and fit the family purse. It is very important to get these facts 
clearly fixed in one’s mind before attempting to furnish a house. 
Those undertaking the task of furnishing even the smallest room 
are by no means free to pick and choose without first considering all 
these problems carefully, if a harmonious unit is to be attained. 

To master the first problem, one must make a study of the dwelling 
as a whole, whether it is a house or apartment—its plan, detail and style; 
whether each room to be furnished is to be used as living-room, dining¬ 
room or bedroom; then its exposure—whether north, south, east or 
west; and so choose background, color and furnishings accordingly. 

To solve the second problem successfully, after a careful considera¬ 
tion of the first, one must know the family requirements, whether the 
rooms are to be used by a man, woman or child, or by a combination 
of all three—whether the persons to occupy them like color, sim¬ 
plicity or elaborateness. 

To master the third and last problem, one must choose furnishings 
and fabrics of good quality and design which will lend to comfort¬ 
able arrangement, proper balance, and the blending of colors, making 
certain that they cost not more than the family can afford. 

To create harmony between the house and its furnishings, one 
must first consider the style and type of architecture; for instance, 
thick carpets, overstuffed furniture, and silk fabrics would be en¬ 
tirely out of place in a farmhouse of Colonial architecture, as would 
furniture of French or Italian design be unsuited to a craftsman type 
of house. It would, however, be correct to consider English or Early 
American furnishings for a house of modern Colonial architecture, etc. 

After the style of furnishings is decided upon, the first considera¬ 
tion is whether each piece of furniture selected is comfortable. Next, 




Delineator Service 


5 


it is not enough that it be suited to the architecture and the needs 
for comfort, but it must blend in color with its surroundings. The 
combining of styles and periods in furniture is entirely correct, and 
in good taste, just as the combining of colors and fabrics is permissi¬ 
ble, so long as the different pieces match in general style and are of 
the same origin, but such pieces must be chosen with relation to other 
furniture to be used, and they should harmonize with things in gen¬ 
eral. For example, the modern heavy, overstuffed pieces, whose 
origin is in the English furniture of earlier days, hardly combine well 
with the more delicate gilt or walnut furniture of French origin, but 
modern Early American furniture can be justly combined with any 
of the Early English types of furniture, and with some of the more 
sturdy types of French furniture such as the Empire period. 














































6 


Furnishing the Home 


The Proper Arrangement of Furniture 

T O FURNISH a house successfully, the arrangement of furni¬ 
ture should be taken up before the subject of purchasing furni¬ 
ture. It is very important to know just how the contemplated 
pieces of furniture are going to balance and blend with the pieces 
already in the room; or, if there is no old furniture to be reckoned with, 
the matter of the proposed arrangement for the new pieces should be 
thoroughly mastered before they are purchased. To arrive at a 
basis, let us imagine that the house or apartment that we are about 
to furnish is built and that we have windows, doors, fireplaces, panel¬ 
ing, and built-in features to reckon with; save for these, we have a 
room bare of its furnishings. The first principle of furniture arrange¬ 
ment is to see that all the tall pieces of furniture are not planned for 
one side of the room, and all the short pieces for the opposite side. 
This will give the room the same appearance as that of a badly loaded 
canoe, without actually being tipped. And, too, if we disregarded 
the looks of the room and considered the effect of each side alone, we 
would see how monotonous and uninteresting a series of pieces of 
uniform height is. We must therefore intermingle high and low 
pieces to secure a proper balance. Proper balance is no more nor less 
than the arranging of objects of the same character in the same man¬ 
ner at either side of a large central figure. Do not become discour¬ 
aged at the frequent use of the word “balance”; with thought real 
balance can be obtained with very little labor. Another and more 
advanced meaning of the word “balance” is the careful arrangement 
on two sides of a central figure of two objects which, while not the 
same in character, are made to correspond perfectly. 

Balance of this type does away with formality and gives a more 
homelike atmosphere. The central figure may be either a fireplace, 
wall space, or large object with space at either side for smaller objects. 

In order that the final result may show a correct balance of arrange¬ 
ment, consideration must be given to the use to which the particular 
room is to be put, whether the family is to use it for reading, writ¬ 
ing, and talking, or for sleeping, eating, etc. 

Comfort and convenience of arrangement for both family and 
guest should be the first thought in planning the arrangement of 
furniture. Be sure that tables, sofas, chairs, desks, beds and dress¬ 
ing-tables are placed for the greatest comfort. Groups consisting 
of tables, lamps, sofas, etc., with chairs placed within easy talking 
distance fulfil the real need required of a living-room, and if such a 
group is balanced by another similar group, the whole will become 
a well-balanced room. r 

One way to be successful in arranging furniture is to think of groups 
from the very start, and to govern the sizes of the groups according 




Delineator Service 


7 



Another view of the room shown on Page 5 which illustrates balanced arrangement 
of furniture 


to the amount of wall or floor space of the room. It is easier also to 
consider a central group, because whether a room has a fireplace or 
long wall space, a central group is easier to reckon from as a starting 
point. Fireplaces in rooms immediately become the object of in¬ 
terest, and the central group should be planned for from the hearth. 
This group may be arranged at either side or directly in front of the 
fireplace, such as two small settees placed opposite each other, or one 
big sofa placed at right angles, with a comfortable chair and a small 
table opposite to balance, also the more popular arrangement of a 
large sofa placed directly in front of the fireplace with a table directly 
back of it makes a convenient central grouping. A balanced arrange¬ 
ment should then be planned for on the opposite wall space from the 
central grouping. This opposite group might be a long table, with 
tall lamps on either end, a tall secretary with a chair, or a piano, pro¬ 
viding there is space. 

The floor plan shown on page 5 was chosen as typical of living- 
rooms found in modern houses, and the arrangement of furniture in 
balanced fashion might apply to rooms of similar proportions. Some 
of the windows may be substituted for doors, and even the fireplace 
may be considered as actual wall space, making the room suit almost 
any type of floor plan. The balance could then be sustained by 
grouping in balanced fashion on opposite and available wall spaces. 
A room without a fireplace should have the central grouping along 



















8 


Furnishing the Home 


the longest wall space, and be built up from that, giving good objects 
plenty of space to be seen and admired. 

In choosing correct forms for furnishings, persons can only be 
guided by their natural perception of good form and lines. Few 
persons have an eye for suitable color or color combinations, but the 
majority of persons have an eye for appropriate form. In furnish¬ 
ing rooms that are low and long, it becomes evident at once that 
they should not contain high, narrow pieces of furniture, neither 
should a high small room be furnished with short, broad pieces. 
Slender, fragile furniture and fabrics of delicate design are entirely 
out of place in rooms where there is heavy woodwork and beamed 
ceilings, as are carpets, hangings, and furniture of big design and 
heavy appearance unsuitable for rooms of small, light, delicate ap¬ 
pearance. 

After deciding on the most appropriate and comfortable forms for 
furnishing the room, the placing of these pieces so as not to spoil the 
size and shape of the room is next in importance. 

With few exceptions, the lines of a room are rectangular, and any 
form, object, or design so placed or arranged as to disturb this outline 
is not in accordance with rules of good arrangement; for example, 
tables, bookcases, beds, day-beds, pianos, china closets, etc., are often 
placed across a corner, leaving space behind each piece, thus break¬ 
ing the straight lines of the room. 

Rugs and carpets, too, are often placed hit or miss, when perhaps 
the furniture is in good position, which gives the same appearance 
as incorrectly placed furniture. 

For successful arrangement, it should be remembered that the 
main pieces of furniture, and all carpets and rugs, should be placed 
in accordance with the directions of the walls. About these main 
pieces, and over the correctly arranged carpets and rugs, the smaller 
chairs, tables, stools, etc., can be grouped for the most comfortable 
and pleasing arrangement. 

When a piano is included in the articles of furnishing, careful con¬ 
sideration should be given to finding the most appropriate place for 
it, both from the musical point of view and as to its general appear¬ 
ance in relation to the other furniture. A piano is such a large and 
distinctive piece that it seldom can be grouped with other furniture. 
It usually must stand by itself against the longer wall space un¬ 
adorned. The very popular practise of covering a piano with a strip 
of fabric, photographs, and vases is justly to be condemned, as it not 
only detracts from the form and dignity of line but impairs a clear 
resonance of tone. 

Mirrors and pictures are far more agreeable when hung so that the 
cord or wire does not show, and when hung above a table or mantel, 
care should be taken not to place them too high. 




Delineator Service 


9 


As the mantelpiece is nearly always the center of attraction in a 
room, care should be taken in choosing and arranging the ornaments. 
A good clock, or some similar central object, and one or two good orna¬ 
ments, are all that is needed. Family photographs are to be avoided, 
if possible, on the mantel and in the living-room, as they are of per¬ 
sonal interest only to the family, and are more suited for the bedroom 
or private sitting-room. 

Fire-screens, andirons, wood-baskets, mirrors, picture-frames and 
all decorative accessories, should be chosen for their simplicity and 
good coloring. Heavily decorated house ornaments have no place 
in the modern American home. 



Windsor chairs typical of straight-line furniture 


Selecting Appropriate Furniture 

T HE situation and needs of persons who contemplate new fur¬ 
nishings are rarely ever the same, except in the case of begin¬ 
ners who are about to create a home for themselves. Very 
often the persons who contemplate changing or adding new furnish¬ 
ings to old are those who through various circumstances have a col¬ 
lection of household goods of different kinds and coloring, and, un¬ 
happily, these furnishings are often ornate, with much carving, high 
polish,* etc. Persons considering adding to or refurnishing, must 
reconcile themselves to the idea that things of simple line and form 
are not only in great favor at the present time, but were designed 
and used so far back as the Fifteenth Century. The periods between 
that time and now developed many interesting and beautiful types 
of furniture, but in the latter half of the Nineteenth Century the 
worst and only really bad furniture developed. This was largely 


























IO 


Furnishing the Home 


due to the great strides made in the invention and development of 
machinery. This era has come to be known as the Victorian Age. 
Previous to that time, all furniture was made by hand, and machine- 
made furniture was indeed a novelty. Sad to relate, it was launched 
on the market cheaply made and overelaborate in design. This age 
produced such things as the towering dressing-tables with long mir¬ 
rors and marble tops, beds with high, much-carved headboards, and 
heavy, ugly,' be-mirrored sideboards with brackets and whatnots to 
display the then expensive and elaborate cut-glass and china. 

It is interesting to note that the most beautiful fashions and pieces 
of antique or modern furniture have been either copied or developed 
from the periods which are distinguished for their simplicity and 
restraint of carving and design. The simple, straight and curved 
lines which are so much in favor to-day are the direct result of those 
early periods which might be classified as follows: 


Curved Shapes 

William and Mary 
Queen Anne 
Louis XIV 
Louis XV 
Chippendale 
Heppelwhite 


Straight Shapes 

Jacobean 
Empire 
Louis XVI 
Adam 
Sheraton 
Duncan Phyfe 


To show in concrete form representative pieces of modern furniture 
which have been copied or developed from these periods, the accom¬ 
panying illustrations have been selected to assist prospective 
purchasers in choosing singly or collectively furniture in good taste, 
which may be purchased from most retail dealers in the United States. 
To. assist further in the matter of furnishing, the following classi¬ 
fied list of the most necessary and desirable pieces for furnishing 
the hall, living-room, dining-room, bedroom for adults, boy’s room, 
girl’s room, guest-room, nursery, and sun-porch has been prepared. 


Floor Coverings — General Principles 

C ARPETS, rugs, and all floor coverings should be several shades darker than 
the walls, and should either be in plain colors or have a small or indefinite 
all-over design. Where walls are plain, the all-over design is preferable. 
When walls have a figured covering, plain carpet or rugs should be used. 





II 


Delineator Service 


Suggested Floor Coverings 


Oriental rugs 
Wilton rugs or carpets 
Axminster rugs or carpets 
Chenille rugs or carpets 
Velvet rugs or carpets 
Wool fiber rugs 
Linen fiber rugs 
Hooked rugs 


Rag rugs 

Wool braided rugs 
Linoleums 
Oilcloth 
Grass rugs 
Fiber rugs 
Rush rugs 

Coco mats and matting 


The following classification will be a guide in understanding the furniture sug¬ 
gestions given below: 


Hardwoods 

Oak Walnut 

Chestnut Cherry 

Ash Gumwood 

Mahogany Pear 

Hard Maple 


Softwoods 

Pine 

Birch (though sometimes con¬ 
sidered hardwood) 

Soft Maple 
Deal 



Curved - line modern chair 
designed after the Period of 
Louis XV 


A Suggested List of Hall Furnishings 

Floor Coverings —Rugs, long runners, square or oblong—depending on the 
shape of the hall—of Wilton, Brussels, Axminster, wool-braided, or any short-nap 
carpet, preferably in small design. 

Linoleum in plain colors or large tile squares. 

It is entirely a matter of choice as to whether stairs are carpeted or uncarpeted. 
Stair carpet should, if used, match hall rugs or carpet. 

Table —Small or medium size, in any of the hardwoods, or painted drop-leaf, 
square, oblong or console shape. 

Mirror —Antique gilt, wood and gilt combined, plain wood, or in frame painted 
to match table. 

Chairs —One or two straight chairs, with or without rush, cane or upholstered 
seats, in any of the hardwoods or dark-painted furniture. 

Low-boy or Table with Drawers —In any of the hardwoods or dark-painted 
furniture. For gloves, string, scissors, pencil and paper, etc. 

Large Chest —In oak, walnut, mahogany, or painted or stained to match the 
woodwork, for overshoes, etc. 










12 


Furnishing t he Home 


Telephone-stand and Small Chair —To correspond with other furniture if 
telephone is in the hall. 

Pictures —Should be few, framed in antique gold or dark wood frames. Type— 
samplers, engravings, etchings, or prints of interest to all. 

Accessories —Card-tray of wood, silver or brass, and a vase or two for flowers. 
If no closet is available for coats, hats and umbrellas, a wooden strip with brass 
hooks, painted the same color as the woodwork will serve as a coat rack if placed in 
some obscure part of the hall. 

A plain pottery or composition jar, harmonizing with walls and carpets, is appro¬ 
priate for umbrellas. 

A Suggested List of Furnishings for Living-Room 

Floor Coverings —Carpets, rugs or linoleum. The entire floor may be covered 
with carpet or linoleum in plain colors, or in an all-over design. Rugs and carpets 
should be preferably the Orientals, Wiltons, chenille, Axminsters. Linen-fiber, 
wool-fiber, grass-fiber, wool-braided and hooked rugs are appropriate for country 
houses or summer furnishings. It is a matter of choice whether one large or 
several small rugs are used. 

Table —In any of the hardwoods, or painted; square or oblong, depending on 
the shape of the room, such as an oblong library table, refectory, a square drop- 
leaf, gate-legged, or plain wood table, painted. 

Sofa —Either entirely overstuffed, wood frame upholstered, or day-bed type. 

Armchair —Either entirely overstuffed, upholstered seat and back only, or up¬ 
holstered seat and wooden back—such as plain overstuffed velours chair, wing 
chair, Chippendale, or French needlework. 

Armchair —In any of the hardwoods—type such as Windsors, or ladder-back, 
with wood or rush seats. 

Wicker Armchair —Natural color or painted; with or without cushions. 

Desk —In any of the hardwoods; type, Colonial secretary with bookcase above, 
block front, spinet, or small flat-top desk. 

Desk Chair —Straight chair with upholstered, wood or rush seat, to correspond 
in wood and style with desk. 

End Tables or Stools —In any of the hardwoods, or painted; low, round, 
square, oblong or kidney-shaped. 

Bookcase or Book-shelves —Bookcase with or without doors; straight-line 
type, or built-in book-shelves, painted or stained to match woodwork. 

Small-Tilt or Stationery-Top Table —Round or square in any of the hard¬ 
woods, lacquered or painted. 

Lamps —Tall, wooden or metal reading-lamp, with silk or paper shade; a table 
lamp of wood, metal or pottery base, with silk, chintz, muslin or paper shade. 

Clock —Simple design in wood, metal or leather. 


l 




Delineator Service 


J 3 


Wastepaper Basket —Wicker, wood or fiber. 

Decorative Accessories —Small footstool, pottery, brass or copper vases; 
bowls, candlesticks, sofa cushions, table runners or mats in duvetyn, velours, old 
brocade, heavy silks, or to correspond with materials used in overdraperies. 

Desk Appointments —In silver, brass, bronze, leather or wood. Book-ends in 
brass, bronze 6r metal; ash-trays of enamel, glass, brass, wood or metal; library 
shears and smoking appointments. 

Pictures —In gold-leaf, antique gilt or natural wood frames, subjects in oil, 
water-colors, engravings, etchings, or colored prints of interest to family and friends. 

Piano —Small grand or upright, in any of the dull, dark-finish hardwoods— 
quality of tone first and forever of importance. 

Talking Machine —In console cabinet, or smaller case in any of the hardwoods 
chosen to correspond with the majority of other furniture in the room. 



Painted breakfast or small dining-room set, designed after American, late Eighteenth 

Century furniture 


A Suggested List of Furnishings for Combination 
Living-Room and Dining-Room 

C HOOSE from the list of living-room furnishings such pieces as the size of the 
combination living-room and dining-room will permit to combine with a 
small table—four or six chairs and serving-table, and not be overcrowded. 


Table —Drop-leaf, gate-legged, or small square or round hardwood or plain 
painted table. 





















14 


Furnishing the Home 


Chairs —Four or six chairs, to match wood in table, with plain wood, rush, reed, 
cane or upholstered seats; or softwood chairs painted to match table. 

Serving-Table or Small Sideboard —In any of the hardwood or painted soft¬ 
woods. Or an individual piece, such a low-boy, chest of drawers or console with 
drawers for linen, silver, etc. 

Corner Cupboard —In any of the hardwoods, or painted to match woodwork. 


A Suggested List of Furnishings for the Dining-Room 

Floor Coverings —Carpets, rugs or linoleum. The entire floor may be cov¬ 
ered with carpet or linoleum, the same as the living-room, or with one large rug, 
preferably in an all-over design in the Orientals, Wiltons, velvet, chenille, Axmin- 
sters. Linen-fiber, wood-fiber, grass-fiber or wool-braided rugs are appropriate for 
country houses or Summer furnishing. 

Table —In any of the hardwoods or painted softwoods. Round or square ex¬ 
tension, drop-leaf, gate-legged or refectory—reproduction of any of the straight or 
curved line periods. 

Chairs —Six or eight, to match in wood and design the dining-table, or of some 
similar wood, or a dark painted finish of a period or style similar to that of the table. 

Sideboard —To match in wood and design the table, or it may be an interesting 
old chest of drawers, spinet, low-boy, or large console. 

Serving-Table —To match in wood and design the sideboard, or it may be a 
small low-boy, a console with folding top, a gate-leg table, or a small chest of drawers. 

Muffin-Stand —In any of the hardwoods, or painted, lacquered or wicker. 

Nest of Tables —Small, square or oblong in any of the hardwoods, or in a 
painted or lacquered finish. 

Mirror —Long oblong or upright in gold-leaf, antique gilt, wood, or painted 
frame. 

Pictures —Few are necessary in a dining-room. These may be in gold-leaf, 
antique gilt, natural wood, or painted frames; type — oils, water-colors, etchings, 
engravings, or colored prints; subject—still life, landscapes or other subjects of 
interest to family and friends. 


A Suggested List of Furnishings for Adult’s Bedroom 

Floor Coverings —Rugs, linoleum or straw matting—rugs, such as velvets* 
Brussels, Wiltons, braided, rag rugs, linen rugs, or straw matting by the yard- 

Beds —Twin beds or double bed, in any of the hardwoods, antique or modern, 
natural wood finish or painted, or metal bed painted, enameled or lacquered. 
Box or woven-wire springs; mattress of either hair or good composition filler; two 
pillows, blankets, comforter and bedspread, preferably of washable material. 

Dresser —Or a broad chest of drawers, with or without attached mirror, simi¬ 
lar to bed in style and finish; or it may be an individual piece, antique or modern, 
of period design. 




Delineator Service 


15 


Chiffonier, Chifforobe or High-Boy —Similar to dresser in finish and style; 
or it may be an individual piece, antique or modern, of period design. 

Dressing-Table, Toilet-Table, Vanity-Dresser or Low-boy —Similar to 
chiffonier in style and finish; or it may be an individual piece, antique or modern, 
of period design. A flounced dressing-table is appropriate with French or Early - 
American period furniture, or in country houses where no period is suggested. 

Dressing - Chair, Bench or Stool — For convenience at dressing-table. 
Same wood and style as dressing-table. 

Small Table or Night-Stand —For bedside use—same wood and style as other 
bedroom furniture; or an individual piece, antique or modern, of period design. 

Lamp —Wood, pottery or metal base, with paper or light-colored silk shade. 

Sewing-Table or Stand —Same wood and finish as bedroom furniture, or an 
individual antique or modern piece—to contain darning and mending materials. 

Armchair or Slipper-Chair —Of wicker, or low, overstuffed, upholstered in 
light-colored silk or cotton material. 

Straight Chairs—T wo—similar to other bedroom furniture; or they may be 
individual pieces, antique or modern, of period design. 

Mirrors— If dresser, chiffonier and dressing-table have no mirrors attached, 

mirrors with antique gilt, gold - leaf, 
painted or wood frames, should be hung 
over chests of drawers or low-boys. 

Pictures — In gold-leaf, gilt, natural 
wood or painted frames; subjects may 
be of the more intimate type, such as 
family photographs, or subjects of par¬ 
ticular interest and association to the 
occupants of the room. 

Decorative Accessories—Ladies— 
Toilet articles in silver, ivory, tortoise¬ 
shell or wood. Fresh cotton in small 
container or bag, for guest. Lamp of 
wood, daintily decorated, or of metal or 
pottery on bedside-table, with shade of 
paper or light-colored silk. One or two 
small pillows for comfort in reading, etc., 
hangers, shoe-trees and painted or 
papered hat-boxes in closet. 

Gentlemen —Toilet articles in silver, 
ivory, tortoise-shell or wood. Clothes, 
hat and shoe brushes available. Plenty 
of coat and trousers hangers and shoe- 
trees and shoe cloths available in closet. 



Excellent reproduction of American 
Empire, America’s most distinctive 






i6 


Furnishing the Home 


A Suggested List of Furnishings for a Boy’s Room 

Floor Coverings —Rugs, linoleum or coco matting—rugs of Brussels, velvet, 
braided, rag, or strips of coco matting. 

Beds —Single bed, wood or metal; if the room is shared by two boys, use two 
single beds, in wood, or metal, preferably of the day-bed type in dark wood, dull 
finish or dark painted finish. 

Dresser, High-boy or Chest of Drawers —In natural wood to match beds, 
or dark-painted, stright-line chest with plenty of drawers. One chest for each 
occupant of the room. 

Mirror —If dresser has no mirror attached, a plain square or oblong mirror of 
natural wood or antique gilt should be hung low enough over chest for the conve¬ 
nience of the occupant. 

Chairs —One or two straight wooden chairs to match dresser, or dark painted, 
such as black, green or brown, and one comfortable chair, such as a dark-painted 
wicker or wooden arm-chair. 

Table —A low one to match dresser or painted to match chairs. 

Desk —One with sturdy, flat top or craftsman type, in finish to match other 
furniture. 

Lamp —For desk or table, or on a bracket, with glass or stout paper shade. 

Bookcase or Book-shelves —For books, trophies, etc., of simple lines to match 
other furniture, or shelves finished to match woodwork. 

Tie-Rack —Hung near chest of drawers. 

Pictures —One or two dark-wood frames; subjects those of interest to boys. 

Denims, reps and heavy sunfast make appropriate curtains, bedspreads, bureau 
scarfs. 

Few or no decorative accessories are necessary, as boys create their own. 


A Suggested List of Furnishings for a Girl’s Room 

Floor Covering—R ugs, linoleum or straw matting—Brussels, velvets, rag, 
braided, linen or wool fiber rugs. 

Bed—S ingle bed, wood or metal; if the room is shared by two girls, use two 
single beds in natural hardwood, or light-painted wood or metal. 

Dresser, Low-boy or Chest of Drawers—I n natural wood to match bed, or 
light-painted, bulge or straight front chest, with plenty of drawers; or a constructed 
wood chest with compartments covered with flounces. 

Mirror—I f dresser has no mirror attached, a plain square, oval or oblong mir¬ 
ror of natural wood or antique gilt should be hung low enough over chest for the 
convenience of the occupant. 




Delineator Service 


17 


Chairs —One or two straight chairs to match dresser or light painted, individual 
chairs to correspond with flounced dressing-table, and one comfortable chair, such 
as natural wicker or small upholstered chair. 

Table —One small table at bedside to correspond with other furniture. 

Desk —Small, flat-top or closed-front desk to match other pieces of furniture. 

A Large Box or Chest —Built-in under window or a cedar type that can be 
moved about for waists, clothing, etc. 


Lamp —Wood or china base with silk, muslin or light-colored paper shade. 


Pictures —Three or four in light-colored frames; subjects should be those of 
interest to girls. 



Decorative Accessories 
—Sewing - basket or stand; 
one or two silver, china or 
pottery vases for flowers. 
Toilet articles in silver, wood, 
tortoise or ivory. Desk ap¬ 
pointments and light-colored 


blotter. Decorative candy- 
box and one or two cushions. 
Sateens, taffetas, muslins, 
seersucker, dotted swiss and 
cretonnes make appropriate 
bedspreads, curtains and 
bureau scarfs. 


A combination in good taste, designed from the Empire, Louis XVI and Colonial Period furniture 


A Suggested List of Furnishings for the Nursery 

The ideal nursery is also a play-room. 

Floor Coverings —Linoleum or some similar sanitary floor covering. One or 
two rag rugs, braided or washable, placed in front of the crib or bed is all that is 
necessary. 









i8 


Furnishing the Home 


Crib or Bed —Of wood, wicker or metal, painted a light color on ball-bearing 
casters. 

Tall Chest of Drawers or Chiffonier —Preferably in some light-color painted 
wood, with or without stencils 

Low Table —Round or square with rounded corners, painted to match chest 
and bed. 

Chairs —One or two wooden chairs, painted to match table, and one large, com¬ 
fortable chair for adult, of wood, wicker or upholstery. 

Clothes-Rack —Low wooden rack painted to correspond with other furniture. 

Book-shelves or Built-In Cupboard — Painted same as woodwork, for 
toys, etc. 

Pictures —Use none if there is a decorative frieze; without a frieze, one or two, 
in light-colored frames, of animals, fairy-tale subjects, or flowers, are appropriate. 

Decorative Accessories —Make sure that all bright lights are subdued by 
dainty paper or silk shades. One or two large cushions for floor covered with 
washable slip-covers are very convenient. Wood or metal guards at the windows 
and a gate at the nursery door are important. 

Muslins, cretonnes, mulls, sateens, seersucker and cotton sunfast make appro¬ 
priate bedspreads, curtains and bureau scarfs. 


A Suggested List of Furnishings for Guest-Room 

Floor Coverings —Rugs, linoleum or straw matting—Wiltons, velvets, rag 
hooked, braided or linen fiber rugs. 

Beds —Twin beds in any of the hardwoods, natural finish or painted, or metal 
beds painted or lacquered. 

Dresser or Chest of Drawers —Similar to bed in finish and style, or an in¬ 
dividual antique or modern piece, or a painted chest. 

Dressing-Table or Flounce Dressing-Table —Similar to dresser in finish 
and style, or an individual piece, antique or modern. A flounce dressing-table may 
be made over a wooden frame or kitchen table. 

Mirror —If the dresser and dressing-table have no mirrors attached, mirrors 
with antique gilt, gold-leaf or painted frames will be necessary, hung against 
the wall over the dresser. 

Arm-Chair or Slipper-Chair —Low wicker, painted wood or overstuffed hair, 
upholstered in flowered or dainty material. 

Chairs —Two straight chairs, natural wood or painted, one for use at desk. 

Desk —Natural wood, flat top, spinet or block front. 

Table —Small bedside-table to match other furniture, with small drawer. 




Delineator Service 


19 


Trunk-Rack or Low Bench —Natural wood-stain or painted, for bags or trunks. 

Lamp Wood, pottery or metal base in some dainty, unusual design or color. 

Pictures Not more than three or four in gilt, natural wood or painted frames, 
with subjects of interest to guests. 

Appointments and Decorative Accessories— Note-paper, blotters, post-cards, 
stamps, pen and ink on desk. Hand-mirror, brush and comb, shoe-horn, button¬ 
hook, box of assorted dress and hair pins; dress-hangers, shoe-cloth, shoe-pockets 
or rack in the closet. Small carafe or pitcher and glass of water; small bag or basket 
with threads, needles, etc. Vase or bowl in pottery or glass for flowers. A few 
current magazines and small books. Special rack in bathroom for guest-towels 
and soap if there is no guest bath. 

A Suggested List of Furnishings for Outdoor or 
Glassed-In Porches 

Floor Coverings —Grass, rush or fiber rugs; coco mats or matting. 

Chairs —Three or four—natural or painted wicker, plain wood painted, or the 
rustic type of hickory and reed. 

Table —One solid, to match chairs. 

Hammock —(Outdoor)—Canvas and metal with or without stand, in plain or 
striped canvas. 

Decorative Accessories —Painted wooden tubs for shrubs or boxwoods; long 
wooden boxes with or without stand for geraniums or flowers; one or two hanging 
pottery or metal flower containers (indoors); a jar of gold-fish or wicker bird-cage. 

How to Choose Color 

T HE problem of choosing correct color for the home is so closely 
allied with the choosing of furnishings that a knowledge of one 
without the other is of little value. With the right use of color, 
or color combinations, the most modest of homes can be made inter¬ 
esting—even charming—regardless of how meager or simple the other 
factors in it may be. The average homemaker is constantly striving 
for decorative effects and color schemes that are in good taste and 
please the eye, realizing that the general effect of a beautifully pro¬ 
portioned room, furnished with fine carpets and objects, can be com¬ 
pletely spoiled by the wrong use of color. 

In order that one may appreciate and understand the importance 
of color and color combinations, one must have a knowledge of the 
principles which govern color harmony. To assist in the problem 
of colors and their relation to each other, a color chart has been pre¬ 
pared and is shown opposite page 20 which will prove a helpful 
reminder and valuable assistant in the choosing and blending of 
paint, paper, fabrics and other objects. 






20 


Furnishing the Home 


If one were to choose from a chart of colors the brightest and most 
intense, one would pick red, blue and yellow, the three primary colors. 
These colors in their pure and unadulterated state stand out clearer 
than all others, and by mixing these three colors in various ways, 
every known color can be obtained. Mixing all three primary colors 
in equal proportions gives the color gray, as the star in the center 
of the chart indicates. By mixing any two of the three primary col¬ 
ors in equal proportions one gets what is known as a complementary 
or secondary color. For example, the chart shows that mixing blue 
and yellow will make green, the complementary color to red; yellow 
and red produce orange, which is complementary to blue; red and 
blue produce violet, the complement of yellow. If by mixing equal 
parts of a primary color and its complement (for example, blue and 
orange), the result will be gray. Should the proportions be un¬ 
equal, the predominating color of the two will be softened in tone, 
“grayed” or neutralized. All primary and secondary colors can be 
brought into harmony by “graying,” but no two can be considered 

harmonious combined in their pure 
state. Grayed colors in connec¬ 
tion with house decoration are very 
important, as the pure primary and 
secondary colors should be used 
sparingly. Grayed colors are some¬ 
times referred to as “third-degree 
colors,” or colors of the third mix¬ 
ing. To make a color more “gray” 
or “neutral,” add some proportion 
of its complement. This rule will 
assist in the mixing of paints or 
choosing of fabrics if you are in 
doubt as to whether they are too 
bright or not bright enough. The 
more a color is grayed, the larger 
amount of it may be used, and as 
complementary colors are increas¬ 
ingly grayed they diverge from 
Modem table, designed after a chippen- the center color and become more 
dale Tripod “Piecrust” and more appropriate for use in 

the home. Taking one section of 
the color chart one may see that it is safe to use large areas of 
the “grayed” or colors of the third mixing, while less should be 
used of the complementary colors—and still less of the primary 
colors. For example, the complementary color green when “grayed” 
gives us olive green, excellent for rugs, etc., in a room with tan-col¬ 
ored walls. Small amounts of either clear blue or yellow in sofa 





HENNA FLAMf 


YELLOW 



PEACOCK 















. 








































































































Delineator Service 


21 


cushions, lamp-shades, pottery, etc., would give life and individuality 
to the room. Certain colors produce certain effects, and it is well to 
remember which colors to use to create warmth or coolness, as may 
be desired. Rooms facing north or east require the use of warm, 
cheerful colors, while those having a southern or western exposure 
may indulge in the use of the cool colors. 

Red is warm, brilliant, fiery and irritating if used in large quantities. 

Yellow is warm, light and cheerful, but glaring if used in large quantities. 

Blue is cool, quiet, and light-absorbing in large quantities. 

Green is cool and creates lightness or darkness, depending on the shade used 
Orange is warm, typifying the sun heat and brilliancy. Use in small quantities. 
Purple is warm or cool, depending on the accompanying colors—typifies mys¬ 
tery and elegance. Use small amounts. 

Color Combinations Which May Prove Helpful in 
Furnishing Rooms 

Living-rooms, Halls and Dining-rooms 

1 

Walls —Gold-and-blue-design paper, buff paint or tint. 

Woodwork —Walnut or ivory paint. 

Floor Covering —Tan or blue-and-tan figured rug or linoleum. 

Furniture —In walnut, upholstered in blue or blue-and-gold velours or damask. 
Overdraperies —Old-blue velour or damask. 

Glass-Curtains— Cream marquisette or light-gold silk. 

Lamp-Shade —Gold, lined in old rose. 

Old-rose, burnt-orange or gold accessories. 

2 

Walls —Tan grasscloth, wall-paper, paint or tint. 

Woodwork —Oak or white paint. 

Floor Covering —Brown or olive-green rug or linoleum. 

Furniture —Oak, upholstery in brown, dark green and black tapestry. 
Overdraperies —Tan damask or madras. 

Glass-Curtains —Casement cloth or thin silk. 

Lamp-Shade —Deep yellow and blue. 

Blue or pumpkin-color accessories. 

3 

Walls —Putty color, paper, paint or tint. 

Woodwork —Mahogany or ivory. 

Floor Covering —Taupe rug or linoleum. 

Furniture —Mahogany, upholsery in mulberry damask or velours. 
Overdraperies —Mulberry silk or cotton rep. 

Glass-Curtains —Ecru net. 

Lamp-Shades —Glazed chintz of mulberry, rose and yellow. 

Orange or yellow accessories. 




22 


Furnishing the Home 


4 

Walls —Pale-gray paint, paper or tint. 

Woodwork —Pale gray or white. 

Floor Covering —Sage-green rugs or linoleum. 

Furniture —Maple, painted pale green or gray. 

Overdraperies —Rose, mulberry and green chintz, or printed linen. 
Glass-Curtains —Cream mull. 

Lamp-Shades—O ld-rose lined with gold. 

Gold and turquoise-blue accessories. 

Bedrooms 

1 

Walls —Pale-yellow paper, paint or tint. 

Woodwork —Oak or cream paint. 

Floor Covering —Brown or plain or small figures—rugs or linoleum. 
Furnitue —Walnut or oak. 

Overdraperies —Old blue. 

Glass-Curtains —Cream net. 

Accessories or Trimmings —Yellow, brown and orange. 

2 

Walls —Pale-gray paper, paint or tint. 

Woodwork —Oak or silver gray. 

Floor Coverings— Old rose, black and gray. 

Furniture —Mahogany or painted gray. 

Overdraperies —Cretonne in old rose, black and gray. 
Glass-Curtains —Gray—thin silk. 

Accessories or Trimmings —Old rose and gold and black. 

3 

Walls —Flowered wall-paper. 

Woodwork —White or ivory. 

Floor Coverings —Green, blue and black oval-braided rug. 
Furniture —Mahogany or ivory enamel. 

Overdraperies —Pale-green casement cloth or sunfast. 
Glass-Curtains —Cheese-cloth. 

Accessories or Trimmings —Blue, black and green. 

4 

Walls —Pale-blue crossbar paint or tint. 

Woodwork —White or ivory. 

Floor (Coverings —Tan rugs or linoleum. 

Furniture —White enamel. 

Overdraperies —Striped blue-and-yellow damask. 

Glass-Curtains —White marquisette. 

Accessories and Trimmings— Yellow, sapphire-blue and black. 

‘ < 




2 3 


Delineator Service 


Appropriate Materials to Use for the Upholstery 
of Furniture Are— 


Tapestry 

Velours (silk or cotton) 

Brocade (silk or cotton) 

Upholsterers’ satin 
Printed linens 
Toile de Jouy 

Crewel embroidery on broadcloth for 
small chair-seats 


Horsehair 

Damask (silk or cotton) 

Antique velours 
Madras 
Glazed chintz 

Petit-point or Gros-point needlework 


Appropriate Materials for Overdraperies 


Damasks 

Brocades 

Silk taffetas 

Satins 

Velours 

Madras 



Modern secretary, designed after 
an English Chippendale 


Paisley cloth 

Armurs 

Printed linens 

Cretonnes 

Cotton and silk rep 

Sunfasts 

Mohairs 

Appropriate Materials for Single 
Curtains and Glass-Curtains 

Single Curtains 

Unbleached muslin 

Chambray 

Ginghams 

Cretonnes 

Glazed chintz 

Sateens 

Seersucker 

Dotted swiss—plain white or colored dots 
Linen toweling 
Monks’ cloth 

Kindergarten cloth (for nursery) 

QlasS'Curtains 

Plain nets—ecru and white 
Figured nets (square or round mesh)— 
ecru and white 
Scrim—ecru and white 
Marquisette—ecru and white 
Voiles—plain white or colored 
Japanese silk or radium 
Casement cloths 
Mull (cotton or silk) 









DELINEATOR SERVICE 

House Decoration Series Bulletins 
By Mrs. Charles Bradley Sanders 

Editor, House-Decoration Department, The Delineator 


No. i. Good Floors. Price, 25 Cents 

No. 2. Curtains and Draperies .Price, 25 Cents 

No. 3. Walls, Woodwork and Ceilings .Price, 25 Cent 

No. 4. Furnishing the Home .Price, 25 Cent 


Child Health Series Bulletins 


No. 1. The Expectant Mother 

and The New Baby. Price, 10 Cent 

By Dr. Ralph Lobenstine 
(Introduction by Dr. L. Emmett Holt) 

No. 2. The General Care of the Baby. Price, 10 Cents 

By Dr. L. Emmett Holt 


No. 3. The Importance of Correct Posture... Price, 10 Cents 


By Dr. Alan de Forest Smith 
(N. Y. Orthopedic Hospital) 

No. 4. Maternal Nursing. Price, 10 Cents 

By Dr. L. Emmett Holt 

No. 5. Artificial Feeding. Price, 10 Cents 

By Dr. L. Emmett Holt 

No. 6. Early Childhood, Feeding 

and Other Problems. Price, 10 Cents 

By Dr. Henry L. K. Shaw 

No . 7 . The School Child. Price, 10 Cents 

By Dr. William Palmer Lucas 

No. 8. Mental Health of the Child. Price, 10 Cents 

By Dr. Thomas W. Salmon 


The Baby’s Record Book. . Price, cloth $i.oc 


Prepared by Dr. Bird T. Baldwin 

Director, Iowa Child Welfare Research Station 


Remittance should accompany all orders for 
the above—The prices given cover postage 

Address: Delineator Service, Butterick Bldg., New York City 

H 5 85 1 





















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BINDERY INC. 




NOV 84 


wa&i/g N. MANCHESTER, 
INDIANA 46962 


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